written by
Ilene Chaiken

directed by
Ernest Dickerson

EXT. - LES RUES MONTMARTE - NIGHT

[Hunter (Henri) and Charlotte (Madelaine) stroll along a small road, circa Paris in the 1930s, straight out of a Henry Miller novel. The tiny street is littered with drifters, prostitutes, and shops of ill repute.]

Henri: Just tell me. What appeals to you?

[Title card: les Rues Montmarte - Some other time.]

Madelaine: I don't know, Henri, it's never been one of my abiding fantasies. Why don't you make the decision?

Henri: Well, do you like sleek?

[They pass a girl standing on the street. The girl smiles at them. They walk past.]

Henri: Hm. Brown and wiry?

[They pass another girl who fits the description. They pass.]

Henri: Tall? Tall's good.

[A tall girl smiles at them. They continue on.]

Henri: Short?

[A man nods at them, offering up the short woman to his left. They walk by.]

Henri: Zaftig?

Madelaine: What about her? She looks like she could be wild and crazy.

[They approach a tall, dark woman holding a fan to her face, obscuring her features.]

Henri: She's not a she, Madelaine.

[The woman pulls the fan away - she is, indeed, a he. Henri and Madelaine toss their heads back in laughter, then walk past. Henri tips his hat at another woman as they go by.]

MOMENTS LATER-

[Down a tiny back alley lit by neon signs, they approach a girl with short blonde hair. It's Jenny (Jasmine).]

Henri: Okay, now this is just what we are looking for.

Madelaine: Which is exactly what?

Henri: She looks sweet... a little gamine, but you can see she's nasty. This girl has tricks up her sleeve.

[Henri approaches Jasmine. She smiles sweetly.]

Henri: Bonsoir mademoiselle. Est-ce que vous êtes libre? (Good evening, Miss, are you available?)

Jasmine: Ça dépend, qu'est-ce que vous avez en tête? (That depends, what do you have in mind?)

Henri: Nous deux. Et vous. Notre hôtel. Pas de limite dans le temps. L'argent, c'est pas un problème. (The two of us. And you. Our hotel. Money is no problem.)

Jasmine: (smiling) Où est votre hôtel, vice, personne sale, riche Américain? (Where is your hotel, Mr. rich, vulgar American?)

Henri: Saint Germain des Prés. Hôtel Montalambert.

Jasmine: Et votre copine? Vous êtes sûr qu'elle me veut? Est-ce que je vais lui donner du plaisir? (What about your lady friend? Does she want me? Am I going to satisfy her?)

[Madelaine slowly flicks the wheel on her lighter and lights a cigarette. Jasmine gives her a coy smile. Madelaine nods and blows out the flame.]

[Opening credits]

INT. - ALICE'S BEDROOM - MORNING

[Alice and Dana are cuddling and smooching in bed.]

Alice: We have to do it.

Dana: We did it all night long. We just went to sleep 3 hours ago, Alice. I'm beginning to think you're a sex maniac.

Alice: Not that, no. Sounds great, though. (sighs) We have to tell our friends.

Dana: Mmph, God.

Alice: I know. They're gonna freak. It's a lesbian curse, ya know? Whenever two people in a group of friends become girlfriends.

Dana: Mm.

Alice: Throws off the whole balance.

Dana: They should be happy for us.

Alice: I know. It's just - I dunno. It messes things up.

[Alice rolls over and wraps her body around Dana, resting her head on her shoulder.]

Alice: It's like, one minute we're their friends individually, and the next minute it's like, "Okay, well, if I wanna hang out with Alice, does that mean I have to invite Dana, too?"

Dana: (smirks) Thanks, Al.

Alice: (chuckling) I didn't mean it like that.

[Alice smooches Dana's chin.]

Dana: Mm-hmm.

EXT. - JENNY AND SHANE'S HOUSE - BACK PORCH - MORNING

[Mark stands outside the open kitchen door, on his cell phone.]

Mark: (phone) Okay. Thanks. (hangs up) Fuck.

[Jenny walks out and sits on the steps.]

Jenny: Good morning.

Mark: Morning.

Jenny: How are you? Are you okay?

Mark: Eh.

Jenny: (fake French accent) Sit down. (looks up) Sun.

[Mark sits next to Jenny.]

Mark: Yeah, it is nice. What do you suppose it is about Shane that...

[Mark struggles for the words.]

Mark: (laughing) Period! Question mark! C'mon!

[Jenny laughs.]

Jenny: Um, I think it's, I dunno, the unattainable, right? 'Cause, I think that most people want what they can't have.

Mark: I mean, do you think it's - she's fantastic in bed?

Jenny: (shakes head) No. I have no idea. That's such an oversimplification of things. No, I have no idea.

Mark: Well, aren't you at all curious?

Jenny: No. Shane is my good friend.

Mark: So.

Jenny: What?

Mark: What about Carmen?

Jenny: (smiles) Oh, Carmen.

Mark: Has she... ever mentioned anything about what Shane was like to -

Jenny: Oh, my God. Stop. Mark, you're weird! You're weird, you're weirder than me.

[Jenny gets up.]

Mark: You're - okay.

Jenny: Stop it!

INT. - CHATEAU MARMONT - HELENA'S SUITE - BEDROOM - MORNING

[Helena and Tina are in bed together, naked. Helena cuddles Tina, watching her sleep. She smiles and nuzzles her shoulder, kissing softly. Tina slowly stirs. She smiles as Helena continues kissing her neck and shoulders. Helena slips a hand under the covers. After a moment, Tina sighs and moans in pleasure.]

Tina: Mm, this is a nice way to wake up.

Helena: (kissing) Mm.

[A moment later, the bedroom door bursts open and Helena's kids, Wilson and Jun Ying, run in and jump on the bed. Wilson is carrying a plastic toy stethoscope.]

Kids: Mommy, mommy, mommy! Wake up!

Helena: (laughs) Morning, babies!

[Tina looks absolutely mortified. Helena kisses her shoulder. Tina tenses up.]

Helena: It's all right.

Tina: (whispering) No, no. It's not.

Helena: I promise you they have a very healthy attitude towards -

Tina: (whispering) It's not all right. They shouldn't be seeing this.

Helena: (to children) Babies. Why don't you go wake up Nu Nu and get her to take you down to the restaurant for croissants and chocolat chaud (hot chocolate), hmmm?

[Wilson crawls over onto Tina's side of the bed and stuffs the stethoscope in his ears.]

Wilson: I wanna examine Tina's tummy again.

Helena: No -

[Tina pulls the blankets up a little higher.]

Tina: No, no. Not right now, Wilson. Maybe later.

Helena: Darling, do as mummy says. Go on.

Wilson: I wanna listen to the baby's heart's beating.

Helena: Go and wake up Nu Nu right now. Later on you can listen to Tina's baby's heartbeat. And if you're a good boy, I have a super special treat in store for you.

[Wilson smiles and climbs down off the bed. Jun Ying follows him through the door.]

Helena: Can you close the door on the way out?

[The door closes and the kids are gone. Tina squints her eyes shut.]

Tina: That freaked me out.

Helena: Children... are sexual creatures. It's totally natural for them -

Tina: It's not natural for them to see their mother fucking someone they barely know.

Helena: You're not a parent yet. I've been doing this for a while.

[Tina looks at her, then looks away and sighs.]

Helena: And if you're good...

[Helena cuddles Tina and runs a finger down her shoulder.]

Helena: I'll let you know what I have in store for us this weekend.

Tina: I have to work this weekend. I'm doing a youth arts outreach program for K through 6 at Venice Beach. I... (shakes head)

Helena: Pat and Hilma can handle it. We're going to San Diego, you and me. We're taking the children to Sea World.

[Tina scoffs, smiling.]

Tina: I can't, Helena.

Helena: Yes, you can. I spoke to them. They're completely capable of running that workshop on their own.

Tina: You spoke to Pat and Hilma?

Helena: Mm-hmm.

[Helena playfully kisses Tina's shoulder.]

Helena: Mm-hmm, mm-hmm!

[Tina giggles.]

EXT. - THE CAC - LEO HERRERA'S OFFICE - MORNING

[Leo Herrera is unpacking his things in his new office. Bette knocks on the open door. He turns.]

Bette: Mind if I come in for a minute? I just wanted to say welcome. Bette Porter.

Leo: (chuckles) We've met. Barbara Gladstone's dinner for Matthew Barney.

[Bette shrugs, drawing a blank.]

Leo: Okay, never mind. Leo Herrera.

[They shake hands.]

Bette: Nice to meet you.

[Bette looks around his office.]

Bette: Well, you seem to be making yourself at home.

Leo: Come. Sit down for a minute, can you?

Bette: (looks at watch) Uh, well actually I have a -

Leo: Oh, just for a minute. There's something I want to get out of the way.

[Bette looks uncomfortable. She follows him to the table and they sit, next to one another. Leo sits casually, resting an ankle on his knee. Bette sits with her legs crossed, jaw set, and arms tightly folded.]

Leo: I just wanted to reassure you that I am totally respectful of your position at CAC.

[Bette smiles.]

Leo: Actually, I'm in awe of the work you've done here.

Bette: That's nice, thank you.

Leo: I know this could be awkward, but I don't think it has to be.

Bette: (smiling) Well, there's no reason it should be. I have two years left on my contract. They would be silly to let me go.

Leo: I'm here to raise money, Bette, not take your job. We should work together. I could help secure the Aaron Noble show and the Julia Scher. I mean, those are challenging projects to fund.

[Bette leans forward, amused.]

Bette: (smiling) You know, I've been managing very well on my own, Leo. Apart from Helena Peabody, which I really don't think was through any failure on my part, so -

Leo: Helena can be an important friend to this museum. We need to cultivate that relationship.

Bette: It seems like you've been cultivating it already.

[Bette smiles daggers at Leo. Leo is quiet for a moment, then looks down and smiles.]

Leo: I met your ex the other night with Helena. God, they're so excited about the baby.

[Bette is hurt by the comment. She looks stunned for a moment, then smiles and gets up, effectively ending the meeting. Leo rolls his eyes at himself. Bette walks across the hall to her office.]

INT. - THE CAC - BETTE'S OFFICE - CNTD.

[Bette enters her office and slides the door closed. She looks completely demolished. She hangs her head for a moment, then sighs and walks over to her desk. She picks up her phone and dials, leans against the desk, and puts the receiver to her ear. She takes a deep breath, and sighs.]

Bette: (phone) (clears throat) Hi, it's Bette. And I'd really love it if you could return some of my phone calls.

[Bette opens her mouth to speak, then sighs. She starts again, softening her tone.]

Bette: (phone) Listen, I know that uh, you don't really wanna deal with this right now, but I... (sighs) I need to have some kind of resolution before the baby is born. Okay? (voice wavering) So, um... please call me. Bye.

[Bette hangs up. James enters, carrying papers.]

James: Um, hey, this -

Bette: Please shut the door.

[James slides the door shut. Bette walks around and sits down at her desk. James puts a pile of papers in front of her.]

James: Um... it's mostly travel memos and shipping receipts. There's a breakdown of the cost of the Erin Noble, but, uh, Mr. Herrera is reviewing that.

Bette: Well, that's not gonna work. I want everything to come to me first.

[Bette starts to flip through and look at the papers.]

James: Sure, okay. Um... and Alice called. She was wondering if you could meet her at The Planet tonight?

Bette: I'm already going. Why?

Alice: Well, she didn't say, she just said it was some kind of, uh, emergency meeting?

[Bette raises her brows and chuckles.]

James: Oh, and the, uh, the catalog from the sculpture from the Michael Kohn gallery. Leigh Ostin.

[James points to the catalog on her desk. She picks it up and flips through it. It's a simple catalog showing photographs of Leigh Ostin's work - mobiles made of glass baubles and wire. It catches Bette's eye. She flips through, looking at each of the pictures. On the last page is a picture of Leigh Ostin - an attractive, dark-haired young woman. Bette smiles.]

Bette: Would you call Michael Kohn and get me a studio visit today?

James: Yeah, uh, absolutely.

Bette: Thanks.

[James exits the office. Bette continues to flip through the catalog, tilting her head and smiling a little.]

Bette: Hm.

EXT. - PARAMOUNT PICTURES - DAY

[The grounds are busy with people walking and riding around in golf carts.]

INT. - PARAMOUNT PICTURES - VERONICA BLOOM'S OFFICE - DAY

[Veronica is storming around behind her desk, waving a script and shouting at the top of her lungs into her phone. Four of her assistants, plus Aaron, sit in chairs nearby. They hang on her every move and word.]

Veronica: Fucking fuck, fuck, fuck! He gave me his fucking useless word!

[Shane walks in. Aaron intercepts her.]

Veronica: The air hostess is producing it?

[Veronica swings the script at a vase of flowers. They go sailing.]

Veronica: Jesus!

[Shane's eyes are wide. Aaron looks at her.]

Aaron: Marty just dropped out of the project.

Veronica: (phone) Let me give you some advice!

[One of Veronica's assistants quickly picks up the flowers and vase and deposits them neatly back on her desk.]

Veronica: (phone) No. You listen to me, Richard. If you want to keep Marty as a client, you will pull him off this deal now, because a year from now he is gonna fire your sorry ass for blowing off Veronica Bloom in favor of the air hostess, who's sucking his cock!!

Aaron: (to Shane) That's his wife. The project is going to fall apart without Marty. She's taking it especially hard because they used to be married, you know. Veronica calls his new wife the air hostess.

Veronica: (phone) No, Richard, you and your client -

[Veronica puts the phone directly in front of her mouth and shouts into it.]

Veronica: - better get a fucking grip!

[Veronica hurls the phone at one of her assistants. It bounces off his chest. Everyone cringes. Veronica grabs a lollipop from her desk and sticks it in her mouth. Aaron bravely steps forward.]

Aaron: Uh, maybe we should go to Night. He's apparently looking to do a period drama, and you know -

Veronica: You want me to go from Marty to M. Night-fucking-Shyamalan? Where were you educated? (raising voice) Do you even know the difference between War and Peace and a Marvel fucking comic book?!

[One of her assistants puts a candy dish on her desk. She quickly flips it over, and candy goes everywhere. All four of her assistants jump into the floor, scrambling to pick up the candy.]

Veronica: (screaming) Get out! Unless you have something to say, get out! You're all fucking useless! Just leave me alone!

[Everybody files out as if the room were on fire, except Shane, who slowly turns and shuffles toward the door, a little shocked at the display.]

Veronica: Not you!

[Shane turns.]

Veronica: You stay.

[Veronica sits at her desk. Shane looks like she has no idea what to do next.]

Shane: Can I get you something?

[Veronica has calmed down now. She looks depressed.]

Veronica: (voice wavering) Why do people always let you down? No matter how much you have done for them. Don't you find that to be true?

Shane: That's why I... try not to need anything from anyone.

[Veronica stares at Shane, obviously moved. She thinks about it.]

Veronica: (sadly) I want you to teach me how to do that. Come on. Sit down.

[Veronica waves her hand towards an empty chair. Shane brushes the bits of candy out of it, then plops down. Veronica stands up.]

Veronica: Let's go out. Let's go make ourselves feel better.

[Shane gives a puzzled look. Veronica walks toward the door, kicking aside pieces of candy and paper with her shoes.]

EXT. - JENNY AND SHANE'S HOUSE - DAY

[Jenny sits on the porch with her laptop. She stares at a blank page in her word processing program, then types the word "LUMINOUS" at the top.]

Jenny: Luminous.

JENNY'S DAYDREAM -

[A young woman in a pink dress, with her hair tied up in pigtails, rides her bicycle. This is Dee Dee. She rides through a junky, abandoned warehouse-type area, to an open courtyard where a trailer home sits. The trailer is painted pink; the words "Venus de Mylar" and a mural of a pink-haired woman are painted on the side. Outside the trailer is a green turf "lawn", various tacky furniture, and colored lanterns on a string.]

[Dee Dee parks her bicycle and knocks on the door. Someone is heard inside grunting and banging around. Some guy with messy hair and a pot belly opens the door. Meet Venus de Mylar. Dee Dee looks a little startled.]

Venus: Uh-huh?

Dee Dee: Hello. I'm looking for the fabulous Venus de Mylar?

[Dee Dee holds up a poster that reads "The Fabulous Venus de Mylar". On it is a drag queen with pink hair hugging someone dressed in a cheesy white King Kong suit.]

Venus: Yeah, so?

Dee Dee: I was told she lived here.

Venus: I'm her, girly.

[Dee Dee looks at the poster. Venus sighs and retreats into the trailer. Again the trailer shakes and grunting and crashing is heard inside. A moment later, he emerges wearing a tousled pink wig and see-through platform stiletto heels.]

Venus: That better?

[Dee Dee nods. Venus steps down onto the turf carpet and puts his hands on her shoulders.]

Venus: So. What's your name, little girl?

Dee Dee: Dee Dee. Dee Dee Steinberg.

Venus: Victor Bernstein! Huh.

[They shake hands.]

Venus: It wouldn't fly in Peoria.

[Dee Dee stares blankly. Venus sighs.]

Venus: Come on, have a seat.

[They sit down in the tacky furniture on the plastic lawn.]

Venus: So, I take it you want to join the circus.

Dee Dee: Yeah, how did you know?

Venus: (leans forward) Venus can sense these things, girly. So. What's your story?

Dee Dee: I don't belong anywhere else. Everybody in my family thinks I'm a freak because -

Venus: Yeah yeah, but do you have any talent? Any special circus skills, hm?

[Dee Dee stands up, lays the poster down, and pulls up the front of her dress.]

Venus: Holy Bejeezus, that is special! But it'll never fly in Peoria.

INT. - CHARLOTTE BIRCH'S CLASSROOM - DAY

[Jenny sits in front of the class, reading her story. Charlotte paces around the classroom.]

Jenny: That is special. But. It'll never fly in Peoria.

Charlotte: Well, well. Who'd like to start?

Hunter: I thought it was extraordinary. It was really extraordinary. It calls to mind Rick Moody. Have you ever read Demonology?

Jenny: No, sorry.

[Charlotte leans against Hunter's desk and looks at him.]

Charlotte: Um... what about Jenny's story "Luminous" evoked Rick Moody for you?

Hunter: Well, first of all, there's that story called "The Carnival Tradition". Uh, it's fairly obvious, I know, but it's more than just the time -

Charlotte: That's very good.

[Meanwhile, while Charlotte and Hunter are having a moment, Jenny stares at the ceiling.]

Charlotte: (to Hunter) So, it wasn't just the carnival illusion that reminded you of Moody. Isn't it more that - that Moody and Jenny both write about and - and reveal the grotesque that's hidden underneath the mundane?

[A student scrunches his face up and looks at the two. Jenny raises her brows and watches Charlotte and Hunter.]

Hunter: Absolutely. I feel that Jenny is to the Midwest as Carson McCullers is to the south. It's, uh, it's gothic, it's grotesque, and yet always delivered with self-deprecating humor.

[Hunter is staring hard at Charlotte.]

Charlotte: Well, that's very generous of you. It's not every day that a writer in the bloom of youth is compared to Carson McCullers.

[Charlotte finally turns around and addresses Jenny.]

Charlotte: It's very generous, don't you think, Jenny?

Jenny: Yes, I do. Thank you, Hunter. Charlotte do you have any questions or comments for me?

Charlotte: If I were you I'd leave, uh, well enough alone. I think Hunter has acquitted you admirably.

Jenny: Thank you... Charlotte.

[Jenny goes back to her seat. Charlotte turns back to Hunter. They stare at each other.]

EXT. - SALON - DAY

[A peaceful building looking exterior, with fountains and plants.]

INT. - SALON - DAY

[Veronica wears a robe and a towel around her hair. She lays on a treatment table while a spa tech peels dead skin from her face. Shane sits in a robe in a chair nearby, groaning as she watches, completely grossed out.]

Veronica: So, why shouldn't I become a lesbian?

Shane: Uhh. Because women are intense. They're a lot of work that can suck you dry.

[Shane cringes.]

Veronica: You sure you don't want to try this Shane? The results are amazing.

Shane: (sighs) Thanks.

Veronica: What you don't know about me is that I like intensity. (grunts) When things aren't intense I get bored. (grunting hard) And when I am bored I want to kill myself!

Shane: (cringing) Well, watch out.

[The spa tech continues to slowly peel off the dead skin. Veronica bangs her fists against her stomach, trying to ignore the pain.]

Veronica: (grunting hard) Motherfucker!

[Veronica kicks at the foot of the table, and takes a breath. Shane stares, looking sick.]

Veronica: You know what, you have potential. You stick with me, kid, and I'm going to help you realize it.

[The spa tech pulls off another piece. Veronica grunts. Shane watches, unable to take it. She squints and pulls at her own hair, deeply grossed out.]

Shane: Oh, fuck...

[The spa tech pulls a long piece off.]

Veronica: (groaning loudly) Grrrrrrrrrrrryeah!

INT. - LEIGH OSTIN'S STUDIO - DAY

[Bette slowly walks through Leigh's workshop, taking in all the beautiful, hand-blown glass mobiles. Leigh follows behind her, smiling.]

Bette: Exquisite. They must take forever to assemble.

Leigh: I work on each piece for almost a year. I'm usually working on two or three pieces at a time. But as you can imagine, I'm not exactly prolific.

[Bette stops and touches a large, blue globe on one of the mobiles.]

Bette: Why haven't I seen this work before?

Leigh: I actually think Michael has been trying to get you in here for ages.

[Bette gives a short laugh.]

Bette: Well, I'm glad I finally came to my senses.

[Bette smiles warmly at Leigh. Leigh nods at her and smiles back.]

Leigh: Me, too.

[Bette looks Leigh over and smiles at her.]

Leigh: This work I don't normally show.

[Leigh leads Bette over to a group of paintings.]

Leigh: These are all straight up copies of classic renaissance paintings.

Bette: (gasps) Oh!

Leigh: I'm usually working on two at a time.

[Bette leans closer to the paintings, inspecting them with a great deal of interest.]

Bette: I didn't think anybody does this anymore. It's thrilling, isn't it?

[Leigh watches Bette as Bette inspects the work.]

Bette: Leigh, do you know my sister's club, The Planet?

Leigh: It, uh, used to be a cafe?

Bette: Yeah, it - it still is during the day, but uh, Kit's hiring a chef and she's looking for musicians a couple of nights a week, and Sharon Isbin is performing there tonight.

Leigh: I saw her play with the New York Phil last June at Avery Fisher Hall. Look, the CD actually just came out.

[Leigh walks to a nearby table. Bette follows closely. Leigh picks up the CD and hands it to her.]

Leigh: Here.

Bette: Hm. Well, this will be a bit more intimate.

[Bette and Leigh stand very close, staring at each other.]

Bette: (shyly) Do you wanna join me?

[Leigh looks unsure of how to respond. She looks across the room - another woman, Valerie, enters and smiles at Leigh.]

Leigh: (to Bette) Actually, it's, um, Valerie who's a classical music aficionado.

[Valerie walks up to Leigh. Bette smiles.]

Leigh: Would it be all right if she came, too?

[Bette stares at Valerie, then lets out a nervous laugh.]

Bette: Hi!

Valerie: Hi.

Leigh: (to Valerie) Hey, sweetie.

Bette: (shrugs) Um... yeah, sure.

EXT. - RUNYON CANYON - DAY

[Alice and Dana are holding hands, walking along the jogging path.]

Dana: I did Jenny, Shane, and Carmen. Oh, Carmen's already going to be working there, but I thought it'd be nice if I called her and officially asked her.

Alice: Right, and I did Bette and Tina. And Tina wanted to invite Helena and I was like, "Tina, that's so not cool to Bette."

Dana: Aww. (kisses Alice's hand) You're so smart and so thoughtful. (giggles)

Alice: Yeah. But you didn't tell anybody what it - what it was about, did you?

Dana: No.

Alice: Okay. I just, you know, I just - I think it's really important that we tell everyone at the same time 'cause someone's gonna feel less important than somebody else.

Dana: But Shane already knows.

Alice: Yeah, but Shane didn't tell anybody. She's like the only person on earth who can actually keep a secret.

INT. - CHATEAU MARMONT - HELENA'S SUITE - LIVING ROOM - DAY

[Jun Ying and Wilson are watching cartoons with their nanny, Nu Nu. A guy from room service picks up their food tray just as Tina walks in the front door carrying a shopping bag. Tina sits down in front of the TV.]

Tina: You guys, it's a beautiful sunny afternoon. What are you doing inside watching television?

Kids: We're watching cartoons!

Tina: Well, I brought you something that is going to be much more fun than staying inside and getting cross-eyed.

[Tina opens her shopping bag and pulls out a bag of popsicle sticks, paint, markers, and puts them on the coffee table. The kids excitedly jump in the floor to get to them.]

Wilson: Yay, Tina! Popsicle sticks! Will you build a fort with me?

Tina: Yes.

[Helena walks in from the sun deck.]

Helena: Wilson? Nu Nu will build a fort with you, darling. Tina has to come and spend a little time with Mama.

[Helena raises a brow and smiles. Tina smiles back.]

EXT. - CHATEAU MARMONT - DAY

[Winnie Mann, Helena's ex, gets out of a cab and walks into the hotel.]

INT. - CHATEAU MARMONT - HELENA'S SUITE - SUN DECK - DAY

[Tina stands at the deck railing with her eyes closed, soaking in the sunlight. Helena approaches and puts her arms around her. Tina smiles. They kiss. Helena kisses Tina's chest and touches her belly. They smile at each other.]

Tina: Helena.

Helena: What?

Tina: Your children are just inside.

Helena: Ahh. But they're (kisses Tina) completely engaged in brilliantly wholesome art-making activities. Thank you very much.

[They kiss. Helena slowly reaches down and lifts the hem of Tina's skirt, and slips a hand under.]

INT. - CHATEAU MARMONT - HELENA'S SUITE - LIVING ROOM - DAY

[Nu Nu lets Winnie in the door. The kids see her and go racing to her.]

Kids: Mommy, Mommy, Mommy!

[Winnie laughs and gives them hugs and kisses.]

Wilson: I didn't know you were coming! How did you get here!

[Wilson and Jun Ying take Winnie's hands and lead her back to the coffee table to see their forts.]

Winnie: Well, I flew!

Wilson: Look what Tina brought us!

Winnie: Ooh!

Wilson: Will you build a fort with me?

[Winnie musses Wilson's hair.]

Winnie: Yes, I will, sweetheart, very soon, but first, where's mummy?

INT. - CHATEAU MARMONT - HELENA'S SUITE - SUN DECK - DAY

[Tina is stretched out on a lounger, her back arched in ecstasy. We pan down and see that Helena has her head between her legs. Helena smiles up at her. Tina touches her face. Helena kisses her palm, and goes down on her again.]

[Tina doesn't notice that Winnie has walked out onto the sun deck and is watching them with a very disappointed look on her face. Tina pulls back from Helena. Helena looks up at her, then sees Winnie. She raises her head and shoots a look of daggers at Winnie. Helena wipes her lips with a finger.]

Helena: Tina, meet my ex. (sits up) Winnie Mann.

[Winnie smiles at Tina.]

EXT. - THE PLANET - NIGHT

[A light shines on the side of the building that reads "The Planet" and "music people food".]

INT. - THE PLANET - NIGHT

[Sharon Isbin is playing classical guitar in front of a small audience. Leigh and Valerie join Kit and Bette at their table. They whisper quietly to one another.]

Bette: This is my sister, Kit. Kit, this is Leigh, and this is Valerie.

Kit: Hi. Nice to meet you.

Valerie: Hi.

[They shake hands.]

Valerie: What a coup to have Sharon Isbin.

Kit: My friend Benjamin hooked it up. He thought she'd be perfect for the kind of music we do in here. (to Bette) (sing-song) And you should see the flowers he sent me.

[Bette chuckles. Kit nods behind them. Bette turns and looks at a vase of beautiful flowers sitting on the bar. She smiles at Kit.]

Kit: Mm-hmm.

[Bette looks down sadly.]

INT. - CHATEAU MARMONT - HELENA'S SUITE - BEDROOM - NIGHT

[Winnie paces while Helena reclines on a chair, having a glass of wine.]

Winnie: You are not actually above the law, Helena. I know you think you are.

Helena: Don't be so absurd, Winnie, I haven't broken any laws.

Winnie: They were due back with me this morning at 8 AM!

Helena: I had something special planned for them this weekend.

[Winnie huffs and continues pacing.]

Helena: I don't see why they should miss out just because you're rigid and small-minded and you don't -

[Tina enters the room.]

Tina: I'm sorry, I'll be out of here in a minute.

[Tina hurries to get her things.]

Helena: You don't have to leave, Tina.

Winnie: Oh yes, you do.

Helena: Tina, you know that I had something special planned for the children this weekend at San Diego.

Winnie: (to Tina) This is between me and Helena. You'd be well-advised not to get involved.

[Tina gets her bag and backs away.]

Helena: I need you as a witness. Their other mother is prepared to deprive them of that enriching experience out of pure petty selfish pique.

Winnie: (to Tina) (raising voice) She violated a court order!

Helena: (raising voice) Tina, I need you here!

Tina: I really have to go. I remember Alice is having this... gathering at The Planet. I should go.

[Tina turns to open the door.]

Helena: Don't be intimidated by her.

Winnie: No. Do. Because when it comes to my children, even Helena Peabody can't make me roll over and play dead. (to Helena) (raising voice) I will not beg for scraps. And all the money in the world is not going to keep me in my place!

[Helena doesn't look the least bit threatened.]

Tina: (to Helena) I'll talk to you tomorrow. Okay?

[Tina leaves. Winnie shakes her head at Helena.]

INT. - VERONICA BLOOM'S MANSION - DOWNSTAIRS - NIGHT

[Shane is in the kitchen, mixing a concoction in a glass.]

Veronica: (off screen) You're a lying scumbag, and I'm never getting married again -

Shane: Fuck.

Veronica: (off screen) - so I can collect alimony 'til the day you fucking die! You listen to me -

INT. - VERONICA BLOOM'S MANSION - FOYER - NIGHT

[Shane carries the glass through the house, toward the extravagant marble staircase.]

Veronica: (off screen) - you piece of shit. Don't you come crawling back to me the next time you need something produced, because I'm going to tell you to shove it up your ass!

[Shane heads up the stairs.]

Veronica: (off screen) (screaming) Fuck you, Marty! Fuck you!

INT. - THE PLANET - NIGHT

[Sharon Isbin's set is over. Music plays and people mill around. She puts her guitar away while Kit breaks down the mic. Sharon looks over at Bette, who is talking to Leigh and Valerie at their table.]

Sharon Isbin: That's your sister? The one who just broke up with her partner?

Kit: (smiling) Sooo?

Sharon: She's beautiful. Introduce me to her in... six months.

Kit: (laughing) Ah! You're a smart woman.

BETTE'S TABLE -

[A woman approaches Bette and shakes her hand.]

Allison: Bette. Allison Palmer from Betty. We performed here a couple weeks ago.

Bette: Oh, right, right, and I saw - I saw the show. You guys were great.

Allison: This is so not a feminist thing to say, but there is a group of women over at the bar who have you meat-tagged like nobody's business.

Bette: I'm sorry?

Leigh: (chuckles) Meat-tagged. It means they've marked you as a hot item.

[Bette rolls her eyes.]

Allison: Those girls are lining up around the block to get on your dance card.

Bette: Great. My neighbors will love that.

Allison: FYI.

[Allison walks off.]

Bette: Meat-tagged. Eww.

[An attractive woman walks up to Bette.]

Meryl: Bette. Hi, Meryl Rothman.

Bette: Hi.

[They shake hands.]

Meryl: Hi. We met when I was an executive at Disney.

[Bette looks like she's drawing a blank, but smiles politely, nodding.]

Bette: Right.

Meryl: Mm-hmm.

Bette: Right.

[Meryl drops her business card in front of Bette.]

Meryl: I'm a therapist now. In private practice.

Bette: (smiles) Oh?

Meryl: But, uh, I would rather date you than analyze you.

[Bette stares up at Meryl, at a loss for words, mouth agape.]

Meryl: Call me. (to Leigh/Valerie) Ladies.

[Meryl walks off. Valerie chuckles with amusement. Bette looks at them, still stunned.]

Valerie: You've been meat-tagged.

Bette: (laughs) Well that would seem to be my new identity.

INT. - VERONICA BLOOM'S MANSION - VERONICA'S BATHROOM - NIGHT

[Shane is in the bathroom, going through all the bottles of pills Veronica has. Veronica groans and mumbles from the bedroom.]

Veronica: (off screen) Ugh. Yeah...

[Shane opens a bottle and pours a few pills out.]

Veronica: (off screen) (slurred) That son of a bitch Marty, ruining my movie...

INT. - VERONICA BLOOM'S MANSION - VERONICA'S BEDROOM - NIGHT

[Veronica sits in the bed in her pajamas, holding her head and groaning.]

Veronica: Ugh.

INT. - VERONICA BLOOM'S MANSION - VERONICA'S BATHROOM - CNTD.

[Shane picks up a bottle and stops. She sticks it in her back pocket.]

Veronica: (off screen) Never gonna forgive him.

INT. - VERONICA BLOOM'S MANSION - VERONICA'S BEDROOM - CNTD.

Veronica: Fuck.

[Shane walks over and gives her pills and water. Veronica takes them. Her face is red and splotchy from the skin peel at the spa. She moves slowly.]

Shane: Here you go. These should make you feel better in a little while.

Veronica: Why don't you take one.

Shane: No. I'm not... into Xanax. But you had some Oxy in there. Would you mind?

Veronica: Go ahead, take whatever you want.

Shane: Really?

Veronica: Take the whole bottle, I can get more.

Shane: All right.

[Shane goes to get more pills.]

Veronica: When you come back, get into bed with me. We'll get fucked up and watch Funny Girl. Barbra Streisand movies have always been my tonic when I feel like shit.

[Shane stops and thinks twice. She walks back out to Veronica.]

Shane: Look, um... thanks, but I think I'm gonna go.

[Veronica tilts her head.]

Veronica: No, you're not.

Shane: Yes, I am. My - my friends need me tonight.

Veronica: (raising voice) No, they don't.

Shane: Yes, they do. Look I can stay here until you -

Veronica: I'm fucking paying you. You will stay here until I tell you you can go.

Shane: Fuck that.

[Shane turns around and walks out. Veronica scrambles out of bed, yelling after her.]

Veronica: You will do what I tell you to do! You will fucking watch a movie with me if I tell you to!

[Shane jogs down the stairs.]

Veronica: (shouting) You'll tickle my back if I tell you to tickle my back! You'll fuck me if I tell you to fuck me.

[Shane opens the door.]

Veronica: (screaming) Come back here!

[Shane leaves, slamming the door behind her.]

INT. - THE PLANET - NIGHT

[The place is jumping, the booze is flowing, the music is pumping, the people are dancing. Jenny and Carmen share drinks up at Carmen's DJ booth. Kit and Bette sit at a table down near the dance floor.]

Kit: You know, Sharon Isbin, she thinks you're all that!

Bette: Then how come she didn't even talk to me?

[Bette takes a drink of her Perrier.]

Kit: Well, she said she heard some of the girls say that you were... what do you call it?

Bette: (rolling eyes) Meat-tagged.

Kit: Yeah, well what is that?

[A slightly tipsy woman walks up to them.]

Bette: Well that's -

Woman: (to Bette) Hi! My friend wants to know if you're ready to start dating? Um, she says she could be your rebound girlfriend.

[Kit laughs. Bette looks perplexed.]

Kit: Hey. That's not a bad offer.

Bette: Does it have an expiry date, because I think I really might need to think about it.

Woman: I'll go ask her.

[The tipsy woman stumbles off, back to her friends. Bette smiles. Kit looks at her.]

Kit: You're being pimped!

INT. - ALICE'S CAR - NIGHT

[Alice is driving. She and Dana are on their way to The Planet.]

Dana: Okay.

Alice: What do you think we should say?

Dana: I don't know. That... (tosses up hands) I don't know! Nothing much has changed, you know? We're still hanging out every day and night, it's just that now we're having... incredible, mind-blowing, earth-shattering sex.

[Dana chuckles. Alice blushes and smiles. Dana nods to herself, grinning. Alice looks at her watch.]

Alice: What time is it?

[Dana grabs Alice's arm and looks at her watch.]

Dana: We're early.

Alice: Mm-hmm.

[Dana looks at Alice. Alice pulls the car over to the side of the road and puts it in park. She and Dana turn to one another.]

Alice: C'mere.

[They kiss. They undo their seat belts.]

MOMENTS LATER -

[Alice is on Dana's lap. She rolls over into her seat. The car horn blares. They freak out, untangling from each other momentarily.]

Alice: Ow!

Dana: Oh, god!

Alice: Shit.

MOMENTS LATER -

[Dana is on her knees in her seat. Alice grapples at her, panting.]

Dana: Oh, god.

Alice: Oh, fuck...

[Alice crushes Dana's mouth in a kiss. They collapse back on Alice's seat.]

INT. - THE PLANET - NIGHT

[Grandadbob's "Mmmnn" plays. Everyone in the joint is dancing and enjoying themselves. Jenny is still up with Carmen, being shown the tricks of the DJ trade.]

Carmen: These guys I heard them at the Troubadour and they're fucking amazing.

Jenny: They're fucking amazing?

[Carmen smiles at Jenny.]

Carmen: Yes. They are fucking. Amazing.

Jenny: You know what I think's fucking amazing?

Carmen: No.

Jenny: (pointing) Watching all those people on the dance floor, and then you can feel them getting really, really hot.

Carmen: Mmm. I like that, too. Yeah. They get hot and sweaty, and... I love it 'cause you can just feel the crowd and...

[Carmen and Jenny turn to each other at the same time. They're very close. Carmen looks at Jenny's mouth.]

Carmen: And you just feel their energy.

[People dance on the floor.]

ELSEWHERE -

[Tina enters and looks around until she finally spots Bette. Bette is surrounded by several women who all seem very interested in her. She smiles as she talks to them, sipping her water, but doesn't look terribly thrilled to have them there.]

[Tina watches. A look of doubt crosses her face for a second and is interrupted when Kit walks up to her.]

Kit: Hey!

[They hug, smiling.]

Kit: Hi, mama.

[Tina looks back over to Bette. Kit follows her gaze. Bette is still talking to the women around her. Tina looks a bit nervous. Kit reassures her.]

Kit: Go on over there! She's gettin' rid of 'em.

Tina: What do they want?

Kit: Filet mignon.

[Kit walks off. Tina takes a deep breath, and walks over. Bette doesn't notice her until she sits down.]

Tina: Hi.

Bette: Hi.

[The exchange is friendly. Tina smiles. Bette is cordial, but nothing more.]

Tina: Sorry I didn't call back. Can we talk after this weekend?

Bette: (nods) Okay.

[Tina looks as if she wants to say more. So does Bette. Neither of them say anything. Bette looks back out to watch the people dance. Tina watches Bette.]

ELSEWHERE -

[Carmen is coming on to Jenny big time. She has her arms wrapped around her from behind, showing her the controls on the turntables. Jenny smiles as Carmen points out the different buttons. Carmen runs her hands over Jenny's.]

Carmen: CD player two, which corresponds with the sliding button, channel two.

[Carmen draws her hands back. They look at each other.]

Jenny: Should we do it?

Carmen: You want to?

Jenny: I do.

Carmen: Okay.

[Carmen rubs Jenny's arm, then helps her push the slider to fade into the next song. Carmen nuzzles Jenny's neck, kissing her temple.]

[Shane walks in the front door of the club and looks around. She sees Carmen and Jenny. Carmen looks up and sees Shane. Jenny looks over. Both Shane and Carmen stare at each other, looking hurt.]

[Shane turns and quickly walks off, toward the door. She runs into Alice and Dana.]

Alice: Whoa. Shane. Where you going?

Shane: Look, um... I gotta go but everyone's inside so go for it. Go for it.

[Shane walks out. Alice and Dana hold hands and head inside.]

Dana: Ready?

[Alice takes a deep breath. They walk to the middle of the club, to the dance floor, and suddenly a spotlight falls across them, the music comes to a halt and everyone stops dancing.]

Carmen: (mic) Alright everyone! If I can have your attention, please, there is a happy new couple in the house! Give it up for Alice and Danaaa!

[Everyone claps and cheers. Alice and Dana grin and blush. Alice looks over and sees Bette and Tina sitting together, with Jenny. They all smile and applaud.]

Carmen: (mic) This one's for you.

[Carmen plays a song - Shirley Bassey's "Where Do I Begin" (awayTEAM remix).]

Woman in audience #1: Aww! They're so cute together!

Dana: (joking) Thanks, Carmen.

[Dana escorts Alice out to the middle of the dance floor. Both of them are blushing.]

Woman in audience #2: Oh, congratulations!

Woman in audience #3: They're so gorgeous together.

[Alice grins and blushes as Dana puts her arms around her. They start to sway to the romantic music. A few moments later the music picks up a beat, and the happy couple are shown in various cuts smiling at each other, touching foreheads, caressing each other's faces happily.]

[From the sidelines, Kit watches, smiling. At Bette's table, Bette watches, smiles a little, then looks away, melancholy. She doesn't notice that next to her, Tina is watching her closely, almost looking like she wants to say something. Jenny grins at Alice and Dana. At the turntables, Carmen watches them.]

MOMENTS LATER -

[Alice and Dana stand off to the side of the dance floor, no longer in the spotlight. People dance around them. They share a tender kiss.]

EXT. - JENNY AND SHANE'S HOUSE - KITCHEN - NIGHT

[A bunch of fruit is sitting on the table. Carmen picks up a strawberry and eats it. Jenny walks over and pours herself a glass of wine. Carmen puts another strawberry in her mouth - but this time, holds it between her lips and backs up against the wall. She looks at Jenny. Jenny approaches her and kisses the strawberry out of her mouth.]

MOMENTS LATER -

[Carmen sits on the kitchen counter. Jenny is in her lap. They grab at each other and kiss hungrily. In their frenzy, they knock over everything on the kitchen counter. We see Shane walking through the living room to the kitchen, trailed by two cute blonde twins in their underwear. When Shane gets into the kitchen, she stops.]

Shane: Hi.

[Carmen stops. Both of them look uncomfortable.]

Jenny: Um.

[The moment is over. Jenny climbs off Carmen.]

Twin #1: Hey, what about beer, do you have any beer?

[Shane opens the freezer door, then checks the fridge.]

Shane: No.

[Jenny lights a cigarette. Carmen looks more uncomfortable each passing second.]

Twin #2: Maybe we should get some pizza.

[Shane pulls a bottle of vodka from the freezer.]

Shane: No. Fuck the food. No way. How's this?

Twin #1: Yeah.

Shane: Okay. (to Carmen/Jenny) Goodnight. (to twins) Come on.

[Shane ushers the twins back through the living room, and into her bedroom.]

Jenny: (to Carmen) What was that?

Carmen: I don't - I don't really think I wanna know. You know? Maybe we should call it a night. Let's just take a breather. And we can... visit it again, in... the cool... clear light of day.

[Jenny looks at Carmen. She slowly walks over and stands in front of her, and tucks a loose strand of hair behind Carmen's ear.]

Jenny: I understand.

[Jenny kisses Carmen on the cheek and walks away. Carmen looks very confused.]

INT. - THE GARAGE - NIGHT

[Mark is watching Shane and the twins in Shane's bedroom. The twins wrestle and giggle on the bed, while Shane sits in a chair by the wall having a cigarette. After a second, Shane leans forward and sniffing is heard. Mark leans close to the screen.]

Twin #1: C'mon! Play with us!

[Mark taps a key on his keyboard and runs the video back. Again, Shane leans over and snorts. Mark taps the key again. He watches, looking almost worried. He taps the key a few times, running the video back again. Once more, Shane leans over and snorts. The twins on the bed giggle and wrestle.]

Twin #1: C'mon! Play with us, Shawn!

[Shane leans back in her chair, ignoring the plea.]

Shane: It's Shane.

Twin #1: (giggling) Shane, come here!

Shane: No.

EXT. - VENICE BEACH - GAZEBO ON THE BEACH - DAY

[Tina, along with some co-workers from the Headquarters for Social Justice, are on the beach helping set up art projects for children. They're currently working on a large, blue sun with long, shiny gold sun rays.]

Tina: Let's take them out onto the beach to collect seashells or beach glass, or anything that they feel inspires them.

[In the nearby parking lot, Helena drives up in her Mercedes-Benz and parks. Tina doesn't notice.]

Tina: And then after that we'll break up into individual groups, and then we'll start to workshop.

Co-worker: Tina.

[The co-worker nods toward Helena. Tina sees her.]

Tina: Excuse me.

[Tina walks over to meet her.]

INT. - JENNY AND SHANE'S HOUSE - JENNY'S BEDROOM - DAY

[Jenny is sitting in a chair in her underwear, putting lotion on her arms and legs. Someone knocks at the door.]

Jenny: Come in.

[The door opens. It's Carmen. She stands in the door, looking apologetic.]

Jenny: Hey.

[Carmen looks around for a moment.]

Carmen: Would you say that this is the... cool, clear... light of day?

Jenny: Do you wanna come in?

[Carmen comes in and closes the door behind her. She sits on Jenny's bed.]

Carmen: Um... I've been trying to figure this out.

Jenny: Mm-hmm.

Carmen: I don't know why... I left last night. I really wish I hadn't.

[Jenny looks down.]

Jenny: I think because you like Shane.

Carmen: I'm not someone... who falls for... fucked-up, unavailable people.

Jenny: I don't think that we really have a choice in the people that we fall for, Carmen.

[Carmen gets down in the floor, and kneels in front of Jenny. They lock eyes. Carmen looks terribly sorry; Jenny's eyes fill with tears. She blinks them away. Carmen removes her shirt, then stands and unbuttons her jeans.]

MOMENTS LATER -

[Jenny lays back on her bed and closes her eyes.]

Jenny: Here.

[Carmen crawls on top of her, and straddles her hips. Jenny starts to run her fingernails down one of Carmen's arms. Carmen responds by running her nails down one of Jenny's arms. Jenny then runs her nails across the zipper of Carmen's jeans, and Carmen runs hers over Jenny's bra and down her chest.]

[Without warning, Jenny slaps Carmen's arm. Carmen is surprised; she slaps Jenny's arm. Jenny slaps her arm again. Carmen slaps back even harder. When Jenny raises her hand to strike again, Carmen grabs her arm and pins it down on the bed. Jenny struggles weakly, and tries to hit her with the other hand. Carmen pins that one down, leaning forward with her body's weight to keep her still. She watches her.]

[Jenny stares at Carmen, expressionless. A lone tear falls from her eye.]

[Carmen looks sad. She slowly lowers herself down, and stretches her body out along the length of Jenny's, still holding her arms. Jenny stares at the ceiling.]

EXT. - VENICE BEACH - GAZEBO ON THE BEACH - DAY

[Tina walks to the parking lot to meet Helena. Helena walks up to her and smiles warmly.]

Helena: Hi.

Tina: Hey. How are you? I'm surprised to see you.

Helena: Why would you be surprised?

Tina: I don't know. I thought you would be mad at me for walking out on you last night. I just thought it was between you and Winnie.

Helena: Yeah, well, uh... I'm sorry you had to see that.

[Tina is about to say something, but Helena interrupts.]

Helena: But then again, you know, I'm not sorry, because at least then you get to see just how completely mad she is.

Tina: (nodding) Well, she was angry. But, she wasn't completely without reason.

Helena: I know I shouldn't have kept them beyond my curfew. (smiles) I just get so... carried away, you know? I want to give them something wonderful to take back to New York, something they can think about when they get sad, knowing their mummies are splitting up.

[Tina nods.]

Helena: You know, when they're in New York, they sleep on a mattress on the floor and they eat food that comes out of a can.

Tina: (chuckling) Okay. Maybe you should just - talk to her.

Helena: I've offered. You know, Winnie won't take anything from me 'til we've gone through this whole barrage of lawyers and custody hearings... she's trying to cut me off from them.

Tina: Completely?

Helena: I mean, I stand a chance with Jun Ying, but... she's Wilson's birth mother, so...

Tina: You can't separate them. They're too close.

Helena: I wouldn't do that. You know - Winnie and I have always said that even though she gave birth to Wilson, we both equally conceived of him. I mean, for years we talked about it - we planned it...

[Tina looks very thoughtful, whisked away to another moment where something has clicked, something finally makes sense. She smiles at Helena.]

Helena: (smiling) I helped dream this family into existence.

Tina: Well, I hope you and Winnie work it out.

Helena: We will.

[They smile at each other.]

Tina: (nodding toward the beach) Do you wanna come help?

Helena: (smiling) Yeah.

Tina: Okay.

Helena: You know, I did have some other plans...

INT. - JENNY AND SHANE'S HOUSE - LIVING ROOM - DAY

[Loud rock music is blasting from the stereo. The phone is ringing. Shane is sprawled out on the couch with her arms over her face, sleeping. Jenny races in from her bedroom, dressed for class. She struggles to put her shoes on while standing.]

Jenny: Fuck, fuck, I'm so late for school! Fuck!

[The phone continues to ring. Jenny struggles with her shoe and picks up the phone.]

Jenny: (phone) (shouting) Hello!

[Jenny covers her other ear.]

Jenny: (phone) (shouting) Yeah, hang on a sec! (to Shane) Shane! It's for you!

[Carmen emerges from Jenny's room and stands in the hall, watching Shane ignore Jenny.]

Jenny: (shouting) It's Veronica Bloom!

[Shane finally uncovers her face and squints at Jenny. She yawns and stretches and rolls over.]

Shane: Tell her she can kiss my ass!

Jenny: (phone) (shouting) Um! She's not around right now, can I take a message?! (listens) Okay! Bye! (sets phone down) Shane! She would like you to please call her back! (to Carmen) Good-bye!

[Carmen waves at Jenny. Jenny leaves.]

Shane: She can kiss -

Carmen: - your ass!

[Shane looks up at Carmen. Carmen rolls her eyes. She turns off the music and looks down at Shane.]

Carmen: You wanna know something?

[Shane stirs and sits up a little. She looks really rough and exhausted.]

Carmen: You've been getting away with this shit for far too long. I don't know what that poor, ass-kissing woman did to piss you off - you know, maybe you guys were walking down the street one day and she smiled at you too sweetly by accident! Okay, but maybe - maybe she bought you a gift to let you know that - that you're kinda special to her!

[Carmen starts to cry.]

Carmen: (crying) Or just maybe... maybe she really liked you.

[Shane watches her.]

Carmen: (crying) I think that - that that's something... that you just don't know how to handle right now. (nods) And, uh... (wipes tears) and I also think that... that we sweet, simple folk (smiles)... will not go around kissing your ass forever.

[Shane looks stunned into silence. Carmen turns and leaves. Shane buries her face in the couch.]

INT. - CHARLOTTE BIRCH'S CLASSROOM - DAY

[Hunter sits in front of the class, reading his latest story in an overdramatic fashion.]

Hunter: (reading) "Watch my cock, Madelaine, watch me beat it again while Miss Jasmine fathoms your pussy for the twenty seventh time this morning. The sky... was chartreuse."

[The students watch him. Some look puzzled. Jenny looks completely mystified and maybe even a little in pain.]

Hunter: (reading) "Wretchedly beautiful and poisonous. And Henri paid the prostitute handsomely for her services."

[Hunter glows at Charlotte. She steps up to the class.]

Charlotte: Okay. Who wants to start?

[Jenny's hand flies up, as high as she can put it. Several other people raise their hands.]

Jenny: (holding hand up higher) Oh!

[Charlotte picks a guy sitting next to Jenny.]

Guy: Yeah. Um, I'm just wondering what was the significance of the Brazilian cross dresser?

Hunter: Oh, she wasn't a cross dresser, she was a full-on transsexual and, uh... I guess I put her in there for local color.

[Charlotte nods at him, impressed.]

Charlotte: Color's good.

[Jenny raises her hand again, fit to burst.]

Charlotte: Sometimes a detail is... an end of itself. Jenny?

Jenny: Yes! I think that your story, um, evokes Henry Miller.

Hunter: Well, I think I did have Henry Miller in mind, just a little bit.

Jenny: Yeah. Yeah, with your Paris setting, and, you know, the younger man, older woman relationship, and the fixation on prostitutes, right?

Charlotte: Well, those are all Henry Miller themes. But... what else about Hunter's story calls to mind Henry Miller for you?

Jenny: I actually think that it's Henry-Miller-lite.

[A few people rolls their eyes and chuckle.]

Jenny: No, but seriously, seriously. Because in your story, all your women, you basically turn them into these nameless, faceless, body part whores.

Hunter: That is not true. I - I honor my woman characters. I imbue them with sexual agency.

Jenny: Your main character, Jasmine, she, like, opens up Madelaine's world by giving her the best fucking orgasm she's ever had -

[Hunter looks a little taken aback.]

Jenny: - which, I don't know if you know this, is the primary sex act that two women can actually have! And then you go ahead, and you belittle it by turning it into pornography, and I think that the reason why you're doing this is because men can't handle it the fact that these women can have this amazing, fucking, beautiful, mind-blowing orgasm, without a fucking cock!

[Hunter has no idea what to say. A lot of people in the class chuckle. Charlotte seems amused.]

Charlotte: Hm. Sounds like you know what you're talking about, Jenny.

[Jenny sinks down into her chair.]

INT. - THE GARAGE - DAY

[Mark sits in front of his computers, editing video of Shane having sex with a girl from a few episodes ago. Music blasts from his stereo. His cell phone rings.]

Mark: (phone) Hello? (smiling) Hey! How you doing? I didn't recognize your number. (looks up) Um... you know, I think she left. But um...

[Mark gets up and goes to the window and looks out at the house.]

Mark: (phone) Yeah, no, she's not back. (listens) Is everything alright? (listens) Hol - hold on, slow down, slow down. I can't hear you. Say it again? (listens) I - um - listen, it's - that's totally normal. Just - just - be cool. Tell me exactly where you are, okay?

[Mark picks up a pen and writes something down.]

Mark: (phone) (listening) Uh-huh. Yeah, of course, but - but where, specifically? (listens) On Venice. On Washington. Okay. (listens) On the Washington side. So - the - the phone booth right by the alley. Okay. I want you to just sit down, right there, and I'm gonna be there in like twenty minutes, alright? And just - just be cool, and um... just - just - just don't move from there, okay?

[We zoom slowly in to one of Mark's monitors, which shows a still from his video of Shane sitting on the couch with a girl, flipping the camera off. Mark rushes around, getting his jacket.]

Mark: (phone) Um, you're not drinking too much water, are you? 'Cause I heard this thing about this guy who was, uh, at the Burning Man festival, (grabs keys) od'ing on X, and, uh, he wound up drinking all this water - you know what, just - I'm gonna be there in, like, twenty minutes. Just - don't drink a lot of water.

[Mark rushes out the door.]

INT. - CHARLOTTE BIRCH'S CLASSROOM - DAY

[Class is dismissing. The students are leaving.]

Charlotte: Schecter?

[Jenny stops at Charlotte's desk.]

Charlotte: That was totally unnecessary. And you know better.

Jenny: Um... (shakes head) But I - but I - I spoke my mind. I mean, the thing is, I've been subject to some really harsh criticism in this class and I've been able to take it because I think that's your job as a writer to be able to take that kind of criticism.

Charlotte: My job is to make sure that everyone becomes the best writer he or she can be. There isn't one standard; there are many.

[Jenny nods.]

Charlotte: And I think it's time that you step up to the plate and start living according to the standard I've set for you.

Jenny: Okay, but what is your standard? Because, the thing is, I don't know what you think of me, or you think of my writing, because -

Charlotte: I have an assignment for you.

[Jenny tilts her head.]

Jenny: (smiling) What? Do you want me to... blindfold myself and walk into a busy intersection so I can feel more with my writing?

Charlotte: I want you to call my friend Burr Connor. Do you know who he is?

Jenny: Um... yes. Isn't he, like, that old school movie star?

Charlotte: It's not exactly the silent era. He was an action star in the mid-80s. But he's an interesting man and he's writing his memoirs for Dutton.

[Jenny looks suspicious.]

Jenny: Why do you want me to call him?

Charlotte: Because he needs help. He needs someone to redact his stories, someone to give structure, and he needs someone to... push him to dig a little deeper, to tell the truths that are harder to find.

[Charlotte writes something down on a note card.]

Charlotte: And... I told him you were my most gifted student.

[Charlotte hands the card to Jenny. Jenny rolls her eyes a little, then smiles and accepts it.]

Charlotte: Take the card. Call him.

EXT. - VENICE - GAZEBO ON THE BEACH - DAY

[Several kids sit around tables doing art projects.]

Kid: Sailboats!

[Tina is helping a few kids with their projects.]

Kid #2: It's staying.

Tina: I know, because you're so good at it. Do you wanna do some more glue right here?

Kid #2: Mkay.

Tina: Okay, see if you can do that.

[Kid #2 puts some glue on a piece of pottery.]

Tina: Yeah. That's looks good.

Kid #2: This one's gonna be hard because it's, like, tilted. Do you think more glue, like, on the ends?

[Tina looks up. She sees Helena on the beach several yards away, building sand castles with some other children.]

Kid #2: We need more glue, like, on the ends.

Tina: Just keep on gluing. I'm gonna make a quick phone call, okay?

[Tina watches Helena, then picks up her cell phone from the table. She dials and puts the phone to her ear.]

Tina: (phone) Bette, it's Tina. I know we're getting together next Wednesday, but I thought...

[Tina watches Helena playing in the sand with the other children.]

Tina: (phone) Just wanted to let you know that I've been, uh... thinking about... our baby.

EXT. - VENICE BEACH - STREETS - DAY

[Mark runs through the traffic and people, looking around anxiously in every direction. He rounds a corner and hears some men shouting outside a club.]

Mel: (off screen) No more, fucking crazy bitch!

Shane: (off screen) Fuck you, Mel!

[Mark looks over and sees a guy named Mel and some other man holding Shane as she kicks and squirms to get away. Mark runs over.]

Mel: (to Shane) Get out of here, you little freak!

Shane: Fucking lay off!

Mel: Little freak!

[Shane backhands one of the men.]

Shane: Eat shit!

[Man #1 punches Shane in the face. Shane hits the ground hard. Mark crashes into the men, throwing his fists.]

Mark: Get off, man!

[Mark gets one of the guys off of Shane and into a headlock. The other guy tries to drag Shane up to her feet. People on the sidewalk are staring and jumping out of the way of the fight.]

Shane: Fuck you! Get off me!

[Mark throws Mel off to the side.]

Mel: You fucking piece of shit!

[Man #1 holds Mel back as he tries to go for Shane again.]

Mel: She don't look like no fucking girl!

Man #1: Hold on! Hold on, man!

[Mark drags Shane up to her feet and holds on to her, and extends an arm stop Mel.]

Mel: Fuck you! Fucking cunt!

[Mel tries to jump Mark, but Man #1 holds him back.]

Man #1: No more.

Shane: Fuck you, Mel!

Mel: Fuck off!

Mark: Alright, alright! C'mon.

[Man #1 drags Mel into the open door of a store a couple of yards away.]

Shane: Piece of shit!

[Mark drags Shane up to her feet. She spits blood on the sidewalk, and doubles over in pain. He wraps his arm around her waist, and drapes one of her arms over his neck. She squints and groans. She has blood all over one side of her face and her mouth and chin.]

Mark: You're alright.

Shane: (groaning) Ugh.

Mark: Alright. You're okay. I got you now.

EXT. - BETTE'S HOUSE - NIGHT

[Bette parks in her driveway and gets out of her car.]

Sandy: Hi.

[Bette jumps.]

Sandy: Jeeze, I'm sorry. I didn't mean to scare you. I was just looking for Tina.

Bette: Tina doesn't live here anymore.

Sandy: Uh, I'm Sandy.

[Sandy stands in the driveway, carrying a couple of large boxes.]

Sandy: She used to buy frozen meat and fish from me, usually stocked up a couple times a year?

[Sandy extends her hand. Bette shakes it, squinting as she jogs her memory.]

Bette: Yeah, I... remember you.

Sandy: Do you think you might want something?

Bette: Um - well, I don't really do that much cooking on my own, so...

Sandy: Well, let me give you a box of New York steaks on me.

[Sandy hands Bette one of the boxes.]

Sandy: Maybe I could come by and cook 'em for you sometime.

[Bette looks up and stares at Sandy, completely at a loss for words. Sandy smiles invitingly. Bette chuckles, then turns around and walks to the front door. Sandy walks away, still smiling.]

Bette: (sighing) Oh, Christ.

[When Bette gets to the door, she stops - there's a huge box on the porch.]

INT. - BETTE'S HOUSE - KITCHEN - NIGHT

[Bette is putting the steaks into the freezer. She closes the freezer and picks up a knife and heads to the living room. On the way, she turns on her answering machine. It beeps. Bette sits down in a chair, in front of the box from her porch.]

Answering machine: You have one unheard message. (beep)

[Bette uses the knife to cut the tape on the box.]

Tina: (machine) Bette, it's Tina. I know we're getting together next Wednesday, but, uh...

[Bette slowly stops working on the box, and stares into the distance, listening.]

Tina: (machine) I just wanted to let you know that I've been, uh... thinking about... our baby. We conceived of this baby together and you should... absolutely... be part of... her life.

[The message ends. Bette's expression softens and a heartwarming smile plays upon her lips. She looks down, her eyes full of hope for the first time in a long time.]

[Music plays - Leonard Cohen's "Coming Back To You".]

[Bette opens the box and reaches into the Styrofoam packing peanuts. She slowly pulls out one of Leigh Ostin's beautiful glass mobiles and holds it up to the light. She glows and laughs a little as she gazes at it, smiling huge. Her eyes water with tears.]

Bette: I think she'll like this.

[She touches one of the glass ornaments, smiling.]

-END-

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